The VMFA is located in Richmond, Virginia, the state that once had the largest total population of slaves in the US. In fact, there used to be a slave house on the site where this global arts institution now stands. During their conversation, Matthieu, Ced’art and Woodward explore the significance and different roles that sculptures have in the source community and in Western society. Woodward explains that while the value of these works may have differed in their community of origin, they also hold great value in the Western world for their ability to educate and share knowledge about different African cultures. He also shows how the VMFA studies and conserves African works. He makes the distinction that this research tells about the object, but not about its meaning.
“That would be a very interesting possibility to explore, to be able to share the work back”
- Richard Woodward
Matthieu and Ced'art ask the professor about the possibility of exhibiting the sculpture in the White Cube Lusanga, enabling the Pende community and the community at large to reconnect with their history and allowing future generations to learn and appreciate their heritage. Woodward responds that certain formalities and agreements need to be fulfilled, but stresses that it is a very interesting suggestion.
Woodward co-authored Art with Fight in It: Discovering That a Statue of a Colonial Officer Is a Power Object from the 1931 Pende Revolt. In part two, “More than meets the Eye: the Statue of Maximilien Balot”, the professor provides a thorough analysis of the Balot sculpture. He begins by describing the unique powers of the sculpture. Unlike other Congolese colonial images of the time, he states, the statue of Balot had a distinct intensity and aggression in its stance and expression. It deviated from the serene female figure Weiss had acquired together with the Balot sculpture, which was a typical example of a Pende sculpture representing their ancestors and power figures. In contrast, the Balot sculpture challenged the norms of colonial representations by conveying a sense of disrespect and anger, exposing the artist's contempt for the subject.
Since the outbreak of the Pende revolt laid the foundation for the creation of the Balot statue, the antagonism between the Pende and the Belgian administration and private industry fueled the sculptor's portrayal of the colonial agent as a hostile figure. The sculpture's aggressive stance and piercing gaze reflect Pende's resistance against colonial oppression. The sculpture remained in the possession of the Pende from the 1930s to the 1970s, indicating that it was not intended for trade. However, over time, as memories of the revolt faded and practical needs arose, the sculpture was eventually sold to Herbert Weiss.
Further examination of the Balot statue revealed deliberate penetrations made soon after its carving, while the wood was still green. A vertical shaft passing through the sculpture and various almond-shaped holes were meticulously planned and executed. X-ray images confirmed the precise alignment of the holes in the head and chest, reinforcing the intentional nature of the penetrations.
The knees of the sculpture were also pierced, and careful analysis revealed that all the penetrations, whether in the head, chest, or knees, intersected the vertical shaft. This discovery demonstrated a systematic arrangement of the penetrations, resembling spokes through an axle.
This examination of the Balot statue provided insights into its creation and use. The deliberate penetrations, made with a thin blade while the wood was green, showcase the sculptor's meticulous craftsmanship. The sculpture's unique features and technical analysis contribute to our understanding of the Pende Revolt and the role of art in expressing resistance against colonialism.
In 2011, both the Balot statue and the Pende njinda sculptures were featured in an installation project at the Virginia Museum of Fine Arts. Woodward, along with Kathy Gillis, former Chief Conservator of Objects at the Virginia Museum of Fine Art, conducted further examination, including the discovery of impressions in the wood indicating that the penetrations were made before the wood split during the drying process. A blacksmith also created an iron blade that matched the shape of the holes, offering a clear understanding of the instrument used.
The Balot sculpture serves as a powerful tool highlighting the Pende's struggle against colonial oppression, their resilience in preserving their heritage, and their expertise in craftsmanship.
About Richard Woordward
Richard B. Woodward is a curator and art historian associated with the Virginia Museum of Fine Arts (VMFA). He is the founding curator of the African art collection at the VMFA, and has guided its development to include more than 1,000 works of art since 1977. Woodward has played a significant role in the museum's curatorial endeavors and exhibition programming. Woodward has curated numerous exhibitions at VMFA, showcasing a diverse range of art forms and periods. He has also contributed to the museum's publication initiatives, including exhibition catalogs and scholarly essays. As a respected art historian, Woodward has written extensively on various topics related to art and culture, with a particular focus on American and contemporary art. His expertise and insights have enriched the understanding and appreciation of art among museum visitors and the wider public. Woodward's contributions to the field of art curation and scholarship have cemented his reputation as a valued member of the VMFA community.
Sources
The text on this page draws from the following source:
“Part II: More than meets the Eye: the Statue of Maximilien Balot” by Richard Woodward, in “Art with Fight in It: Discovering That a Statue of a Colonial Officer Is a Power Object from the 1931 Pende Revolt.” African Arts, vol. 49, no. 1, 2016, pp. 60-63.
Further reading
Van Beurden, Sarah. “THE ART OF (RE)POSSESSION: HERITAGE AND THE CULTURAL POLITICS OF CONGO’S DECOLONIZATION.” The Journal of African History, vol. 56, no. 1, 2015, pp. 143–64. JSTOR.
Agorsah, E. K. “Restitution of Cultural Material to Africa.” Africa Spectrum, vol. 12, no. 3, 1977, pp. 305–08. JSTOR.
Woodward, Richard B. “A Rising of the Wind: Art from a Time of Rebellion in the Congo'', Visions from the Congo, in Blackbird Archive, volume 11, No. 1. 2012.
Plantations and Museums
“Part 6: The Return” is part of the series Plantations and Museums (2021), written and directed by CATPC, Renzo Martens and Jos de Putter. Narration and interviews by Matthieu Kasiama and Ced’art Tamasala. The series is a co-production of Pieter van Huystee Film and VPRO, in collaboration with CATPC and Human Activities, supported by the NPO-fund.
